valdambrini46 v2 dances rsm 013009

7/27/2019 Valdambrini46 v2 Dances Rsm 013009

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per chitarra a cinque ordini 1646

ferdinando

Valdabrini

Libro primo d’intavolatura di chitarra... ( Rome: 1646 )

Volume 2: Selected Dances

Edited by Rockford [email protected]

Version: 01/30/09

Copyright©2009 Rockford Mjos



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Valdabrini

Volume 2: Selected Dances

This collection presents a

selection of dances fromFerdinando Valdambrini’s Libro

primo d’intavolatura di chitarra a

cinque ordini (Rome: 1646).

I have notated changes to

the original text at the end of

each piece. Alfabeto chords

have been written out in

the tablature but are placed

beneath the staff for reference.Like other composers,

Valdambrini sometimes adds

altered notes to alfabeto chords.

My thanks to Pat O’Brien who

made scans of the publication

available to me and to Monica

Hall for sharing her preliminary

translation of Valdambrini’s

introductory material.

Rockford Mjos Saint Paul, Minnesota

January 30, 2009

[email protected]



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Perfrance Ntes

Valdambrini offers some performance information in Libro primo

and Libro secondo (c. 1647), which is summarized here.

Tuning Valdambrini uses a totally re-entrant tuning with only

high strings on the fourth and fifth courses (see Monica Hall’s

translation: http://www.monicahall.co.uk/pdf/Stringing.pdf ).

Perfrance signs Valdambrini tells us that he uses the same

signs as those used previously by Giovanni Girolamo Kapsperger.

Arpeggi Valdambrini uses a common sign for arpeggiation

and illustrates its performance. A four note chord uses the righthand fingering sequence of thumb, index, middle, index. A five

note chord uses thumb, thumb, index, middle, index. These

examples follow Kapsperger’s manner of arpeggiation typical for

theorbo tuning. The arpeggio can be repeated for as long as the

written note value.

Slur This is notated in the typical way.

Struing Chords are strummed in the direction indicated by

short lines extending from the first course of the tablature.



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Chrds When a number appears over the alfabeto chord letter,

the index (barring) finger of the chord is positioned on that fret

number and the other fingers the “normal” chord shape. (Note:

in this edition the alfabeto chords have been written out in the

tablature, but appear below the tablature for reference).

When single notes follow a chord and have direction marks, thechord shape should be held down and only the indicated notes

should be altered [and played?].

When a chord comes at the end of a series of single notes the

player should choose fingerings to prepare himself for the

upcoming chord.



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ornaents Valdambrini presents a series of ornaments

(“adornments”) and shows examples, but in the end tells us

that he thinks it better to use only one ornament sign (the

double dot), leaving the choice to the player as to exactly

which ornament to use.

Trillo Played very fast with the next higher note.

Mordent Played very fast with a lower note.

Tremolo The sign for vibrato.

La Finta An appoggiatura from below.

Sesquicra Valdambrini does not mention this sign,

but uses it frequently. Kapsperger claims in his Libro quarto

d’intavolatura di chitarone (Rome 1640) to have invented it,

and explains that it has the value of 24 to a measure (battuta).Basically, three of these note values fit in to the time of one

single flag note.



4

3 56

33

5

2 3

M3

s 7 8

55

7

8

57

55

#

r

4

M5

S

3

N5

s 6 8

55

7

8 6 58

#

S5

s

t 3

56

33

5 2

M3

s

3

R 6 5 36

#

r

t 35

35

3

5

5

5

35

3

5

#

H3

s

4 3

H3

s

13

02

0

3 1 03

#

E

s

t 3

0

2

22

0

2

I

s

3

R 56

33

5

7 8

55

7

rM3

s M5

s 8

57

55

6

35

33

56

33

5

N5

s N3

s M3

s 6

35

33

56

33

55

35

3

5

N3

s M3

s H3

s

.

.

56

3

3

5

6

3

5

33

56

3

3

5

M3

s N3

s M3

s 5

35

3

5

56

3

3

55

35

3

5

H3

s M3

s H3

s 13

02

0

3 1

#

E

s

4 3

0

0

;

3 2

# 4 3

13

02

0

2

E

s

3

R #

r

.

.

3 1 03

t 3

0

2

12

0

3 1 02

#

D

s

t 30

0;

*

2 1

# 4 3

0

2

12

0

2

D

s

3

R 5

7 7

55

7 rP5

s S 8

57

55

7 5

N5

s S s 4

2

5 4

2

M2

s R r

5

2 4

22

N2

s R s 3

2

5 4

2

5 3 25

#

S2

s

4 3

13

02

0

3 1 03

#

E

s

t 3

0

2

22

0

5

7 7

55

7

I

s P5

s S 8

57

55

7 5

N5

s S s 5

33

5

3 5

P3

s r S

.

.

6

35

33

5 3

N3

s S s 13

02

0

3

E

s r S 5

0

3 1 0

2

22

0

0 2 30 1 3

#

I

s

5

1 0

0

;

3 2

3 # 5 0

3

0

3

13

02

0

#

E

s

Corrente prima

Edited and Copyright © 2008 Rockford Mjos.. Version 01/30/09

Ferdinando Valdambrini Libro primo d ’ intavolatura di chitarra ( Rome, 1646 ). p. 9

Notes:Measure 20: Orig 0 on fifth course ( not fourth ).



4

3

3

3

3

0

; 0

4

2 30

3;

0

10 6

5

;

05

55

56 5

6

0 5

55 5

0

3

33 0 2 3

0 1 3

# 5

1 01

3

0

X

0

0

3 # 5 3

11

32

01 1

3

3

03 3 0

2

22 2

0

.

.5 3

02

2

20

30 1 3

# 4

1 0

0

;3 2

3 # 5 0

3

0 0

3;

2

.

.3

30

3; 0

2 32

12

0

3 1

4

0;2

22

1

32

12

0 2 3 2 3

0

3 1

0

0;

*

2 1

# 4 3 0

1

0

0 1 3

4

1

3

0

2

1

3

30 2

0

31 3

.

.

5

0

3 1

2

22

0 2 30 1 3

# 5

1 0

0

;

3 2

3 # 5 0

3

0

30

3

2

Corrente seconda

Edited and Copyright © 2008 Rockford Mjos. Version 08/16/08.

Ferdinando Valdambrini Libro primo d ’ intavolatura di chitarra ( Rome, 1646 ). p. 9

NotesMeasure 23: “0” on fourth course originally on fifth course.



4

3

5

3

5

0

;

3 1 0

# 4

13

02

0

0

0

;

3 2

3

s E

# 5 0

3 3

30

3;

3 1 0

# 4 1 0;

3

3 # 4

533

;

0

85 7

3

s

4

8

57

55 3

s N5

R r

6 8

55

7

5 6 8 6

4

s S5

S s S

3

s 56

33

5

3 5 6 5

4

s M3

S s S

3

s 3

5

5

3

53 5 6

5

35

3

5

4

s H3

3

s H3

3

133

1

1 3 4

3

133

1

4

s H

3

s H

0

23

10

0

0

2

s B

4 3

1

3

3

0

23

10

0 1 3

#

s B

4

S s S

.

.

13

02

0

*

0 1 3

#

s E

4

S s S 0

2

22

0

0

3

s I

R 56

33

55

35

3

5

56

33

5

s M3

s H3

s M3

13

02

0

0 1 3 1

4

s E

S s S

3

s 0

0

;

3 2

# 4 30

3

0

13

02

0

2

s E

.

.

0

3

0

0

;

3 1 0

# 4

0

2

12

0

0

0

2 1

3

s D

# 5 0

2

0

3

8

5

5

7

5

7 8

55

7

910

7 7

9

s N5

s M5

s M7

10

7 9

7 7

*

8 7

#

s N7

4 3

5 4

2

5 4

2

2 4

3 #

s M2

5

5

2 4

22 2

3

s N2

R

3

2

5 4

2

2 3 5 3 5

4

s S2

S s S s S 13

02

0

0 1 3 1 3s E

S s S s S 0

2

22

0

0

3

s I

R 0

2

22

0

2

0

0

#

s I

4

13

02

0

0 1 3 1

4

s E

S s S

3

s

.

.5

35

3

5 s H3

R r 56

3

3

5

3 5 6 5

4

s M3

S s S

3

s 5

35

3

5

5

5

35

3

5

s H3

s H3

1

0

32

0

0 1 3 1

*4

s E

S s S

3

s 0

0

;

3 2

2 4 0

3

0

3

13

02

0

2

s E

Corrente terza Ferdinando Valdambrini Libro primo d ’ intavolatura di chitarra ( Rome, 164s ). p. 10


NotesMeasures 15 & 26: Rhythm sign dot missing.Measure 37: Missing rhythm sign.



4

3Œ

*5

3

5

0

; 3 1 0

# 4

13

00

2

0

10

7 9

7

7

3

E

s

N7

S 8

57

5

5

5 6 8

#

N5

s

4

5

3

6

5

3

5 6 3

#

M3

s

4

.

...

56

35

3

333

; 3

3

M3

s

#

s

4

S 533

;

0

2

s

3

0

2

2

0

2

I

s 13

00

2

0 1 3

4

E

s 56

33

5

3

M3

s R r 0

2

2

0

2

13

00

2

3

5

5

3

5

I

s

E

s

H3

s

56

33

5

M3

s R s 3

5

5

3

5

13

00

2

0

2

2

0

2

H3

s

E

s

I

s 1

0

3

0

2

0 1 332

#

E

s

5 3

S 1 0

0

;

3 2

# 5

0

3

0

3

13

00

2

E

s

Corrente quarta Ferdinando Valdambrini Libro primo d ’ intavolatura di chitarra ( Rome, 164s ). p. 10


NotesMeasure 1: Original had half note rest.



c Ó

8

57

5

5

3

5

5

3

5

N5

3

s H3

S 56

33

5 3;

6

M3

s R

5

35

3

5 0

0

H3

s R

3

1 3; 00

23

1

0 7

5

7

5

5

7

B

s RP5

s 8

57

5

5

8 7 5

N5

s

4

2

5 4

2

8

5

5

7

5

; 5

M2

s RN5

s 4

2

5 4

2

5

2 4

22 4

2

5 4

2

M2

s N2

S rM2

S 5

2

2

4

2 2 4

N2

s R 5 0 13

02

0

3

E

s 0

2

22

0

5 330

1

I

s s 0

0

;3

0

2

22

0

3

I

s

.

.

1

0

32

0

0 2

E

s R 0

23

10 3; 0

B

s R 0

23

10

3 1 0

B

s 3 10

23

10

0

0

B

#

s

5 3

1

3

2 3

0

23

10

B

@

s

.

.

3 1

4

0

23

10 1

3

02

0

3 1

B

3

s RE

s

4

0

23

10 0

0;0

B

3

s R

0

1

0

3; 0

3

10

7

5

7

55

7

P5

s 8

57

55

8 7 5

N5

s 4

2

5 4

2

03

M2

s R

.

.1

22

02

21

s S 0

2

12

0

3;6

D

s R 5;5

8; 6 5;6

3; 3 1

4

01

7 8

55

7

5 7

3

M5

#

s

5

8

5

5

7

5 5

N5

2

s

3

R 0

23

10

B

@

s

Balletto settima Ferdinando Valdambrini Libro primo d ’ intavolatura di chitarra ( Rome, 164s ). p. 20




4

3

5 3

4 3

23

00

2

0 2

0

3

2

0

#

C

s

4 3

C

s

2

2 3

# 4 3

23

00

2

0 23

00

2

#

C

s

4 3

C

s 0

2

2

0

2

30

2

2

0

2

#

I

s

4 3

I

s

.

...

0

2

2 3

# 4 3

0

0

3 2

# 4 3

23

00

2

2

C

s

3

R

#

s 2 3

4 3

0

2

0 0

2

# 5 3

2

0

2

0

2 2

2 3

02 3

0

2

0 0

2

# 5 3

2

0 2 3

0

;3

2 3

0

2 3

# 4 3

5

0

3 2

# 4 3

.

.

0

0

;

3 2

# 4 3

3

0

;

0

2 3

3

0

2 3 5

0

3 2 0

0

3 2 3

0

;

0

2 3

3

0

;

#

Balletto nona Ferdinando Valdambrini

Libro primo d ’ intavolatura di chitarra ( Rome, 164s ). p. 20




33

1 3

2

0

2

1

3

0

2

3

B

s 0

2

1

2

02

2

D

s 3

2

1

0

3 1 03s

3

2

0

3

1

0

1

2

3

3

2

B

s

3

00

3

3

0

2 30

58

8

5

2 35

50

1 0; 1

2 33

2

01

1

2

3

2

1

;

23

0

0

3 2

3

12

0

0

30

1 0;

3

5

3

; 5

3

@ 3

3

2

3

2

; 3

2

2 @ 3

*

1

0

0

0

; 1

2

3

887 0

7 ;

*

5;

!

Capona Ferdinando Valdambrini Libro primo d ’ intavolatura di chitarra ( Rome, 164s ). p. 32


Notes:Measures 15 and 17: Rhthm signs missing.



4

3

0

23

1

0 3

B

s R r 0

3

10

23

1

0

# 4 3

B

s 8

57

5

5

7 8

55

7 7

57

7

5

N5

s

M5

s

H5

s

5

3

5

3

4 #

G3

s

4

R

3

r 8

57

5

5

7 8

55

7 7

57

7

5

N5

s

M5

s

H5

s

.

...

7 8

55

7 7

57 7

55

35

3

5

M5

s

H5

S

H3

s 23

02

0

C

s R r 3

0

3

2

0 0

2

A

s

3

5

3

5

3

5

3 3 3

5

# 5 3

5

3

5

.

.5

3 3 3

5

# 5 3

3

1

3 3

1 1 1

3

# 5 3

2

0 0

2

# 5 33

3

1

*

2

3

0

03

# 5 3

1

3

3

Sarabanda Ferdinando Valdambrini Libro primo d ’ intavolatura di chitarra ( Rome, 164s ). p. 32


NotesMeasure 1: Original had half note rest.Measure 17: Original had 0 on first course.



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Sggstd Rading

Gary R. By

The Baroque Guitar: Printed Music from 1606-1737

http://www.library.appstate.edu/music/guitar/mixed.html

Boye presents detailed information about Valdambrini’s two books and including contents,

alfabeto used, and illustrations.

‘Performing Seventeenth Century Italian Guitar Music: theQuestion of Appropriate Stringing’, Performance Practice on Lute,

Guitar, and Vihuela: Historical Practice and Modern Interpretation.

ed. V. Coelho (Cambridge, 1997), 180–194.

‘Valdambrini’ in Oxford Music Online erroneously lists the composer’s first name

as ‘Francesco’ instead of ‘Ferdinando’. Boye contributed the main entry.

mnica Hall

http://www.monicahall.co.uk/

Particularly the essays on guitar tuning and Foscarini.

Jas Tyr

James Tyler and Paul Sparks. The guitar and its music: from the

Renaissance to the Classical Era. Oxford University Press, 2007.

Tyler characterizes the Valdambrini books as being “outstanding.”

valdambrini46 v2 dances rsm 013009

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